THIRUVANANTHAPURAM: French composer Béatrice Thiriet’s musical journey started as a five-year-old when she decided to surprise her mom with a Mother’s Day gift. The musical piece that she weaved together is a cherished memory, that also set her on a career path that saw her evolve as one of the few music composers in world cinema in the early 1990s.
Now, the 64-year-old stands as a master of her art whose body of work is as sterling as it is inspiring. TNIE spoke to Béatrice on the sidelines of the 29th International Film Festival of Kerala (IFFK) which is currently on in the capital. Excerpts:
You have composed pieces of classical music and scores for films. What is the difference?
Writing an opera is a personal creation, where I usually focus on women-centric themes. Through this, I am seeking to break stereotypes. For example, there has historically been commendable work done by women in music, yet, they have not got the credit they deserve. So, for operas, I let my mind flow free, bringing out the creative elements that I want to focus on.
When composing for movies, it is the filmmaker who leads the way. I sit with him or her, organise meet-ups with artistes, visit locations and shoots, and then craft my piece in keeping with the language and style of the film.
How important is the script in composing for films?
It is very important to me, more so because I am a literary person who enjoys reading and writing poems. I insist on the script, read it in full, and then allow myself to dream. The music must enhance the texture of the film, be a carrier for unspoken emotions that the frames convey, and play the role of the film’s silent signature.
Music is something that people carry with them, long after a film is done. And, when a similar event plays out in real life, deep in their minds these tunes linger, albeit in silence. That is the role of music -- to be a film’s syntax.
Music has undergone changes with the introduction of new technologies. How do you view this evolution?
I have done synchronous as well as techno music, and an amalgamation of both. It is more about constant updation and keeping up with technology, which is not something to be afraid of. It is to be understood and adapted.
You have worked with both seasoned and young filmmakers. How has the experience been?
I started working at a time when women faced odds as a professional in a field dominated by men. My first film, ‘Petits Arrangements avec les morts (Coming to Terms with the Dead),’ was directed by a woman -- Pascale Ferran. I worked with her again, doing ‘Lady Chatterley’ in 2006 and ‘Bird People’ in 2014.
There were, however, many, especially male filmmakers, who could not identify with my credentials as a musician. But there were also many who did, and they have stuck with me since. I have worked repeatedly with them. I have been working with the younger lot, too. For me, it is about the work.
I have also worked with some Indian filmmakers. ‘The Song of Scorpions’ (2017) was my first such film. Later, Suruchi Sharma approached me for her short film ‘Gagan Gaman.’ Now, she is planning a long feature, and I will be doing the music for that as well.
Your expertise is in western music. How much do you identify with music from others parts of the world?
The various genres are just expressions. Tunes and rhymes are what matters. I tried learning dhrupad during the Covid lockdown. While working on Indian films, I came to know more about the country’s musical tradition, which is vast and rich. It was difficult for me to learn in a short time, and I collaborated with Indian musicians on those films.
In the process, I learnt about the musical instruments used here. My favourites are the ektara used by the Baul singers of Bengal, the double flute used by the Rajasthani musicians. I am also a great fan of the sitar.